With typical boundless energy, Orlando flew directly from the Oscars in LA to Rwanda to shoot this film about Samuel Mugisha, a member of the Rwandan cycling team.
Franklin Dow set up an amazing rig on Samuel’s bike and the cycling shots were fun to edit. Playing with sound design is always really fun too. However the challenging scenes to edit on any documentary are the actuality scenes, but they are also the most rewarding. You tease out some small reaction and exchange between characters. This is hardest when they may be feeling self-conscious in front of the camera, particularly if there is very little time to spend with them. Orlando is expert at making people feel comfortable. We realised early on that the relationship between Samuel and his mum was at the heart of this film. It may seem obvious now in the film but this came from subtle clues in Samuel’s interview and in their interactions together. Patrick Jonsson always sees those clues and is brilliant at drawing them out too. That heart is the key to telling the wider story of genocide within a personal context. It is these clues that I am always looking for in rushes and which turn a short film about cycling in to a short film about so much more.